The dancing body in Renaissance choreography: kinetic theatricality and social interaction
Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reco...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
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London
Anthem Press
2022
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| Ausgabe: | Revised edition |
| Schlagworte: | |
| Online-Zugang: | BSB01 UBG01 URL des Erstveröffentlichers |
| Zusammenfassung: | Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau's definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator |
| Beschreibung: | 1 Online-Ressource (xlv, 113 Seiten) |
| ISBN: | 9781785278020 |
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| 520 | |a Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau's definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator | ||
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| spelling | Franko, Mark 1946- (DE-588)188561889 aut The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko Revised edition London Anthem Press 2022 1 Online-Ressource (xlv, 113 Seiten) txt rdacontent c rdamedia cr rdacarrier Renaissance dance treatises claim that the dance is a language but do not explain how or what dancing communicates. Since the body is the instrument of this hypothetical language, The Dancing Body in Renaissance Choreography problematizes the absence of the dancing body in treatises in order to reconstruct it through a series of intertextual readings triggered by Thoinot Arbeau's definition of dance as a mute rhetoric in Orchesographie. This book shows that the oratorical model for Arbeau's definition of the dance is epideictic and that although one cannot equate dance and oratorical action, the ends of oratorical action are those of dance: persuasion through charm and emotion. The analysis of the rhetorical intertext opens the way to a sociological one. Through a reading of courtesy books as well as a chapter of Tuccaro's L'Art de Sauter et Voltiger en l'air it is shown that dance and social behavior were not discontinuous in the Renaissance. Instructions for the body can be divided into the categories of the pose and movement. They are examined as a model for the most important and widely practiced dance of the Renaissance: the basse danse. The characteristic motion resides in an opposition as well as an interpenetration of stillness and mobility. This is developed through a reading of fifteenth-century dance theorists' concept of misura and fantasmata. Stefano Guazzo's La Civil Conversazione is used as a textual interpretant to ascertain the strategy of movement and the pose in the interaction between dancer and spectator Geschichte 1416-1589 gnd rswk-swf Dance / Philosophy Dance / History Renaissance Choreografie (DE-588)4069977-8 gnd rswk-swf Renaissance (DE-588)4049450-0 gnd rswk-swf Choreografie (DE-588)4069977-8 s Geschichte 1416-1589 z DE-604 Renaissance (DE-588)4049450-0 s Erscheint auch als Druck-Ausgabe 978-1-78527-801-3 https://www.cambridge.org/core/product/identifier/9781785278020/type/BOOK Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Franko, Mark 1946- The dancing body in Renaissance choreography kinetic theatricality and social interaction Dance / Philosophy Dance / History Renaissance Choreografie (DE-588)4069977-8 gnd Renaissance (DE-588)4049450-0 gnd |
| subject_GND | (DE-588)4069977-8 (DE-588)4049450-0 |
| title | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_auth | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_exact_search | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_exact_search_txtP | The dancing body in Renaissance choreography kinetic theatricality and social interaction |
| title_full | The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko |
| title_fullStr | The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko |
| title_full_unstemmed | The dancing body in Renaissance choreography kinetic theatricality and social interaction Mark Franko |
| title_short | The dancing body in Renaissance choreography |
| title_sort | the dancing body in renaissance choreography kinetic theatricality and social interaction |
| title_sub | kinetic theatricality and social interaction |
| topic | Dance / Philosophy Dance / History Renaissance Choreografie (DE-588)4069977-8 gnd Renaissance (DE-588)4049450-0 gnd |
| topic_facet | Dance / Philosophy Dance / History Renaissance Choreografie |
| url | https://www.cambridge.org/core/product/identifier/9781785278020/type/BOOK |
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